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10 Mythophrenia

I coined the term mythophrenia to title a series of texts and talks beginning in October 2016, after a year of “radio silence.” I chose the image of the Mobius strip as icon for the new material. The text below is from the original introduction.

where imagination gets tread

mythophrenia, noun: the condition, often attended by manic emotion and fugue states, of living simultaneously in actual and imagined realms so that the two mingle and merge in ways that can inspire brilliant realizations of truth, but equally so, induce perplexity in common-sense reality and imbalance of single-self identity.

This page introduces a portal on metahistory.org for accessing texts and talks released by John Lamb Lash from October 2016 onward, after having been off the airwaves for one complete year. Consider all forthcoming talks as components of a “command performance”: a special demonstration of virtuoso talent in music, dance, song, etc, given at the request of a high eminence. In the jargon of shamanism, such a command performance would be called “the sorcerer’s last dance”: that is, the open and public demonstration of the magical power of the Supernatural. In Gnostic terms, this event is the revelation of the Nagual of the Wisdom Goddess within the mindset of the mundane, ordinary world. Nuance: Within the mindset of that world, but not evident to everyone of that mindset.

§ Continuing from that set-up I cited Antonin Artaud as exemplary of a mythophrenic. See 10.101.1 Artaud’s Fate. Caution required: I would not put forth Artaud as an example for anyone to follow or imitate, or even admire. §

The Fugue

I have suggested the term mythophrenic for someone who lives in the mix and merge of the actual and the imagined, who may take the imagined as being the more real of the two, holding a higher value relative to truth. While the actual and the imagined appear to be separate, they belong to a single continuum, hence the image of the Mobius strip with its odd properties:

The Möbius strip is a looped surface with only one side and only one edge, made with a strip of paper by gluing the two ends together with a half-twist. The twisting is possible in two directions, producing two different (mirror-image) Möbius strips.

The Mobius strip exhibits some unusual properties. A bug crawling along the center line of the loop would go around twice before coming back to its starting point. Cutting along the center line of the loop creates one longer band, not two. Cutting one third of the way in from the edge (and parallel to it) produces another amusing result.

The Möbius strip was discovered independently by the German mathematicians August Ferdinand Möbius and Johann Benedict Listing in 1858. Blame it on the evil Germans.

The actual-imagined continuum of the human psyche is like a Mobius strip with two sides that share the same continuous surface. With a strip of paper that is not twisted and glued, you have to go across the edges to get from one side to the other. Not so with the Mobius strip. Likewise, in passing from what you actually know and experience to what you imagine that you know and experience, or back the other way, you do not have to cross over edges. Yet edges are there! The Mobius strip had edges just like the untwisted strip of paper. However, the edges are irrelevant to the interchange between actual and imagined (or invented). The crossover between the two does not require traversing the edges.

Mythophrenia is a state of flux where imagination comes into play and immediately impacts reality, it shapes and colors the actual world — the fugue. If that experience distorts your relation to the actual world so that you behave in an irrational way, you are not handling the fugue. A schizophrenic is someone who suffers from mental and emotional instability and possible gross distortions of perception and judgement, due to being unable to handle the edgeless mythophrenic flux, the fugue. It is as if you put a trumpet in someone’s hand and they begin to play it, blasting out a cacophony of sounds and perhaps hitting a short combination of melodic notes here and there. Compare this to the action of someone who knows how to play a trumpet.

Command Performance

In October 2016 I came back on air knowing that I was going to launch into a long project to decode the Mandela Effect which had come to my attention in the previous June. The intention to undertake that project hit me like a freight train — better said, the responsibility for it. Having realized that “The Aeonic Mother has agency,” I felt responsible to explain how she was using it. Doing so, I would prove that the assertion was true. The result was the 60 or 70 talks on the YT channel Mandela Effect Decoded, posted from February to October 2017. Early in October I went to Stockholm to visit the intrepid Nordic Team. When I stepped off the plane I saw in the airport live coverage of the Mandalay Bay shooting in Las Vegas. In concluding the MED project I showed how that incident marked the end of the “Correction Effect” in its initial phase, and indicated its shift to a second phase, the dynamics of which I described in meticulous detail — regarding how the Aeonic Mother used her power of the third attention, first to split human memory, which is a function of the second attention, and then actually to break into the first attention itself, etc.

In a sense, the MED was the “command performance” to which I alluded when I initiated that section of metahistory.org, but at its conclusion in the fall of 2017 I was compelled to take it one step further. Thus I immediately shifted to the Charlotte Working and in January of 2018 I performed that ritual in an open and transparent attempt to execute a killing spell. I emphasize the word ATTEMPT.

In the ultimate sense, the Charlotte Working was the command performance associated with the agency of the Aeonic Mother, and more than that I cannot do. It is simply not humanly possible.

Ten of Diamonds

Course 10 Mythophrenia opens with two blocks that reprise material (talk and text) that I presented before I inaugurated the MED in February 2017, a couple of weeks before leaving Andalucia where I had lived for 14 year. Just as I felt compelled to undertake the decoding of the Mandela Effect, and later the ritual of the Charlotte Working, I also felt a responsibility to lay the groundwork for the former of those activities. (I did not foresee the Charlotte Working at that time.) I was also acting under the compulsion of a supernatural intervention.

I knew exactly what I had to do at that moment due to a semi-lucid dream in which Kali dealt me a hand of cards. Kali is my handler, although Idris is my guardian and guide. I have said for years now that the Kalika can master any situation in life by converting it into a gaming metaphor. When I start talking cards, you know I’m setting out the most advanced intel a Gnostic can manage in this day and age. When Kali herself deals me a hand — well, you can imagine the impact.

What was the hand? It was a sleight of hand in which Kali dealt two hands simultaneously: the Ten of Diamonds, a single card, and then the full ten cards of the suit of Diamonds, Ace through Ten. You have to see it that way, with double vision: See the Ten of Diamonds by itself, then see each of the diamonds on that card as a card in the suit, including the Ten itself. The ten is doubled, seen twice.

This hand dealt by Kali was a powerful supernatural cue that told me I had to present ten essays to lay the groundwork for the MED. The essays were to be grouped as the diamonds on the ordinary playing card: three left, three right, four in the center. Consistent with that design I produced the following material, the mythophrenic “Ten-Pack”:

4 additional essays: Wicked Wit, Her Name Is Silence, Director’s Cut, and The Maitreya Process.

Don’t bother yourself pondering how the essays might correspond to the cards, Ace through Ten. All you have to know is two correlations: Director’s Cut is the Ace and The Maitreya Process is the Ten.

Course 10 opens with the two sets of three: Block 101 The Great Deception and 102 Lucifer-Sophia. The audio for 101 has been on Nemata for a while, accessible to staff, but here you see it with the full complement of the text, which is extensive. Likewise, for Block 102 where you find dense and meticulous text, citations, illustrations, etc.

The remaining four texts — composing the central diamond-shaped figure of four diamonds in the design of the 10 card — which will come up next in this Course, are due for some editing, revision, correction, and additional commentary. Note that those four essays do not have complementary talks, but there is a recording of my reading of the Maitreya Process.

Finally, the staff of student-teachers at Nemeta will be fully briefed on my reflections on the Charlotte Working, sometime in the course of fall 2019, commencing the 2nd year of the Sophianic School.